You’ve heard that snare crack. You know that guttural, floor-shaking grunt. "War! (Huh!) What is it good for?" It’s one of those tracks that doesn't just play; it demands you stop whatever you're doing. But if you’re trying to figure out who sang the song war, the answer is actually a bit more tangled than a simple name on a record sleeve.
Most people immediately think of Edwin Starr. They’re right. He’s the one who turned it into a Grammy-winning, chart-topping anthem that defined the Vietnam era. But honestly? He wasn't the first person to record it. That distinction belongs to The Temptations.
The story of how the song moved from a smooth Motown group to a solo soul shouter is a masterclass in 1970s label politics, fan demand, and the raw fear of alienating a "safe" audience.
The Temptations Version You Probably Haven't Heard
Early in 1970, the legendary songwriting duo of Norman Whitfield and Barrett Strong penned "War." At the time, Whitfield was pushing The Temptations into "psychedelic soul" territory. Think "Cloud Nine" or "Runaway Child, Running Wild." They were getting grittier.
When they recorded "War" for their Psychedelic Shack album, it was intense. It featured the deep, rumbling vocals of Melvin Franklin and the soaring grit of Dennis Edwards. But here’s the kicker: Motown received thousands of letters from college students and activists begging for "War" to be released as a single.
Berry Gordy, the mastermind behind Motown, hesitated.
He was terrified. The Temptations were a global brand, a crossover success that played fancy supper clubs. He didn't want to jeopardize their mainstream appeal by releasing a "protest song" that might offend conservative listeners during a hyper-polarized time. So, he buried it on the album.
Enter Edwin Starr: The Man Who Made It Iconic
Norman Whitfield wasn't a man to let a hit song die on the vine. He knew "War" was a number-one record. He just needed a different vehicle.
He found it in Edwin Starr.
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Starr had been with Ric-Tic Records before Motown absorbed the label. He was talented but lacked that one defining smash. Whitfield took Starr into the studio and told him to give it everything. And man, did he deliver.
Starr’s version is faster. It's meaner. While The Temptations version feels like a conversation between friends about a tragedy, Edwin Starr’s version feels like a man screaming at the gates of the Pentagon. That distinction is why, when you ask who sang the song war, his name is the one that sticks. He channeled a specific, visceral anger that The Temptations—as a polished vocal group—just weren't allowed to show.
Why the 1970 Release Hit So Hard
You have to look at the timeline. By the summer of 1970, the United States was reeling from the Kent State shootings. The Vietnam War was no longer a distant news segment; it was a domestic crisis.
Starr’s "War" hit the airwaves in June. By August, it was the number-one song in the country. It stayed there for three weeks. It wasn't just a catchy tune. It was a pressure valve. When Starr yelled "Absolute nothing!" he was speaking for a generation of young men who felt their lives were being traded for political posturing.
The production by Whitfield was revolutionary for the time. He used a heavy, driving beat and prominent tambourine to keep it "Motown," but the distorted guitar and those aggressive "Huh!" grunts gave it a rock-and-roll edge. It bridged the gap. Soul fans loved it. Rock fans loved it. Even the burgeoning funk scene took note.
The Bruce Springsteen Connection
Fast forward about sixteen years.
If you grew up in the 80s, your answer to who sang the song war might be "The Boss." In 1985, during the Born in the U.S.A. Tour, Bruce Springsteen and the E Street Band started performing the song.
Springsteen was famously wary of the song at first. He didn't want to just do a karaoke version of Edwin Starr. He wanted to make it relevant to the Reagan era. He introduced the song by telling his audience to "blindly follow" nothing.
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The live recording from the Los Angeles Coliseum became a massive hit in 1986. It’s a different beast entirely. It’s got that big, stadium-rock sound, featuring a screaming saxophone solo by Clarence Clemons. It introduced the song to a whole new generation who had no idea who Edwin Starr was.
Interestingly, Springsteen’s version is one of the few times a live cover of a massive hit actually rivaled the original in terms of cultural presence. It peaked at number eight on the Billboard Hot 100. Not bad for a song that was already fifteen years old.
Other Notable Versions (The Good and the Weird)
Music history is full of people trying to capture that lightning again. Some worked. Some... didn't.
- Frankie Goes to Hollywood: In 1984, the "Relax" singers did a version. It's very "big 80s synth-pop." It’s polished and loud, but it loses some of the soul that made the 1970 version work.
- The Jam: Paul Weller and his crew brought a punk-mod energy to it in 1982. It’s fast. Very British.
- Joan Baez: Believe it or not, the folk legend tackled it. It’s a complete 180-degree turn from Starr’s version, focusing on the lyrical message rather than the rhythmic aggression.
- Black Stone Cherry: For the modern rock fans, this Southern rock band gave it a heavy, distorted makeover in 2016. It’s massive. It sounds like a tank.
The Legacy of a One-Word Title
There is a common misconception that Edwin Starr was a "one-hit wonder."
That’s just plain wrong.
He had "25 Miles" and "Stop Her on Sight (S.O.S.)." But "War" was so big, so monolithic, that it overshadowed everything else he ever did. It earned him a Grammy for Best R&B Vocal Performance, Male. It became a permanent fixture in movies like Rush Hour, where Jackie Chan and Chris Tucker famously danced to it, proving the song’s energy transcends both decades and genres.
The song's power lies in its simplicity. It doesn't use complex metaphors. It doesn't try to be poetic about the geopolitical nuances of Southeast Asia. It asks a question and answers it.
"What is it good for? Absolutely nothing."
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Key Facts to Remember
If you're ever at a trivia night or just arguing with friends about music history, keep these details in your back pocket.
The Temptations recorded it first for the album Psychedelic Shack in 1970. Edwin Starr’s version was released as a single in June 1970 because Motown didn't want to "politicize" The Temptations. The song was written by Norman Whitfield and Barrett Strong. It was the first anti-war song to reach number one on the Billboard Hot 100.
How to Experience the Song Today
To truly understand why this song matters, you can't just read about it. You need to hear the evolution.
Start by listening to The Temptations' version. Notice how smooth the transitions are between the vocalists. It’s soulful and sophisticated. Then, immediately switch to the Edwin Starr version. The difference is jarring. You can hear the spit hitting the microphone. You can feel the frustration.
Finally, check out the Springsteen live version from 1985. It shows how the song transitioned from a R&B/soul staple into a rock-and-roll protest anthem.
If you’re a musician, try playing that opening riff. It’s deceptively simple—just a few notes—but the pocket has to be perfect. The "War" drum fill is one of the most sampled and imitated openings in music history for a reason.
Next Steps for Music Lovers:
Check out the rest of the Psychedelic Shack album by The Temptations to see the environment "War" was born in. Alternatively, look up Edwin Starr’s 1969 hit "25 Miles" to hear the incredible vocal range he had before he became the voice of the anti-war movement. Understanding the Motown era requires looking past the suits and the choreography to see the raw, social commentary that artists like Starr and Whitfield were fighting to put on wax.
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